VIVO is partnering with Cycling ’74 on the Max Connect: Vancouver series at VIVO. This is a free meet-up for all ages and skill levels. If you have any interest in Max/MSP, come and join in on the conversation.
Space will be limited so be sure to arrive on time.
From the folks at Cycling ’74:
Following on from our previous events and a blazing tour of the UK and Europe, we’re now venturing north. This time, we’re headed to the Pacific Northwest, visiting old friends, making new ones, and sharing our love of Max 7 and all of its creative possibilities. Whether you’re a seasoned user or have only thought about downloading our 30-day demo, we want to hang out with you and talk about Max.
Come for some swag, linger for refreshments, and stay for the people.
The events are open to the public without registration but if you have a chance to RSVP in advance, please do so! via Eventbrite.
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Tom Hall is an audio/visual artist based in Los Angeles.
Hall’s eclectic works flourish by utilising a variety of mediums, each that reflect on his varied background and interests. With a strong focus on elements of the ‘everyday’ Hall’s practice involves considered explorations into place, space and time. Drawing inspiration from countless ‘peripheral’ spaces, Hall focuses on using multiple approaches to engage and recontextualise them to the public.
Hall uses sound as a means to translate feeling, create hybrid environments and notions of journey. Stylistically these outcomes vary from noise orientated improvisation, to structured drone and melody.
Simon Lysander Overstall is an artist working in digital arts and new media, in particular sound and music. He develops works with generative, interactive, or performance elements. He has produced sound designs and compositions for dance, theatre, and installations. He produces interactive performance systems and art installations which have been shown in Canada, the US, Europe, and China. He has a BFA in Music Composition from the School for Contemporary Arts at Simon Fraser University, and an Associate in Music (Jazz) Diploma from Malaspina University-College. Currently, he is working on his MA in Sound in New Media at Aalto University in Helsinki.
Simon will give presentation on integrating Modalys, the physical modelling synthesis software from IRCAM with Max and it’s physics engine (Bullet). He will discuss the basics of using Modalys in Max and give a quick patching demo on sending collision information from Max to Modalys to trigger sounds. Simon has been using this approach in a generative visual/music project.
Here’s a video of his project that is a work in progress, called Autonomous Virtual Instruments. It’s an audio-visual installation piece in which animated bell-like instruments play themselves.
Kieran Coulter is a musician and computer scientist working in audio engineering, music production, and systems R&D for music education, gestural audiovisuals, virtual reality, and more. He has produced albums and EPs ranging from Impressionist piano solo and electroacoustic works, to ambient, lounge, and techno electronic music styles. He has performed in contexts as diverse as the ambient stage of the World Electronic Music Festival near Toronto, Canada (2000), piano solo in Verneuil-sur-Avre, France (2007), and electroacoustic in Mons, Belgium (2014). He has assisted in the production of electronic music events in Ottawa, Montreal and Toronto from 2000-2005, forming 7th Sun Productions which promoted events in Ottawa from 2002-2005, and will begin promoting events on the West Coast in October.
He holds a BMus in Music Composition and Technology from the University of Ottawa, an ARCT in Piano Performance with the Royal Conservatory of Music, and a Bachelor of Computer Science from the University of British Columbia.
On the technical side of things, he has built and tuned sound systems since 2002, and developed software and hardware for piano education, audiovisual gestural interfaces, virtual reality audio, transposable Just Intonation, and wearable computer interfaces.
Kieran will be demonstrating and speaking about the first release of the GestureLab system, a module called “PresetOne”. This module uses Kinect or Playstation Move devices to affect synthesis panning, modulation and volume on the X, Y, and Z axes respectively, and employs a drawing routine on the projection system similar to calligraphy.
Here’s a video of an early prototype of PresetOne, captured during a performance at the University of British Columbia as part of the IMPART research groupconcert.